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  • Musipedia Of Metal

    Reviews: Cognizance, Philip Sayce, Scarab, The Order (Mark Young & Matt Bladen)

    Cognizance - In Light, No Shape (Willowtip Records) [Mark Young]

    This is an accomplished release that overall charts a high path as it moves from start to finish. First listen and you think, yes, this ok but on a repeat listen there was a click with me. There are numerous tags associated with it, and with the band themselves, noting that they sit within that technical/progressive sphere where prowess sometimes overshadows songcraft.

    So lets get into it, as they get into Transient Fixations, a reasonably short blast of brutality and technical metal. So far, so good. As openers go, it does what it needs to do in getting you engaged. The production is quality, vocals are harsh and guitars are heavy but with a clarity to them. Its when we get into Inflection Chants then they start striking through those tags associated with them – the progressive nature of their material starts to make itself known. 

    What shone for me was that they combined that technical approach whilst keeping it interesting for those who may find it slightly less exciting than ‘normal’ death metal. And this pays dividends later, the machine gun opening of A Game Of Proliferation satisfies on a primal level before it takes that melodic turn. I have to shout out David Diepold on drums here, at times playing with deft touches and manic ferocity, providing the base from which the trio of Alex Baillie (G&V), Apostolis Karydis (G) and Chris Binns (Bass) can build from. Without that steadying anchor, I feel that the songs would flounder.

    They don’t attempt to plough one furrow on repeat, Vertical Illusion drops the velocity in part, bringing an almost melancholic feel until it becomes too much and the tempo is increased once more. It’s the choice of arrangements that impress, bounding into A Reconfiguration which from a player’s perspective would be quality to jam to. I’ve said this many times, that if a song or album can inspire you then they are doing something right. 

    The material on here is light years beyond my ability, but I can appreciate for what it is. What else works in their favour is knowing when their songs should end, they don’t try to extend song lengths out without it being necessary. For me, this Is massive as the songs come in, do what they need to and go. They don’t attempt to shoehorn as many super-difficult melody lines as possible, everything you hear is to suit the song.

    They close up with The Zone, a stylish exercise in speed and touch; it ensures that they achieve their aims in making sure that the album wraps in the same way it started, always looking forward and constantly moving. It’s a strong album, and if anything you could argue that the songs suffer from sharing a similarity in sound which I think is unavoidable. 

    However, that is being overly picky. If you come at this from a fan perspective, it’s quality right through, no interludes or overlong songs to puncture its momentum. For lovers of technical metal, this is something that is right up your street. 8/10

    Phillip Sayce - Scorched Earth: Volume 2 Live in LA / London (Atomic Gemini Records) [Matt Bladen]

    Blues and blues rock is at its best when it's live and raw, usually virtuosos, playing incendiary guitar riffs and filling the room with electric energy. So it's because of that why blues players nearly always have as many live albums as they do studio.

    The latest on for veteran blues rocker Philip Sayce is Volume 2 of his Scorched Earth live series, with cuts drawn from his sold out Baked Potato L.A and The Garage London shows, it captures Sayce showing off his skills in front of packed full houses who hang on every riff and soulful vocals of this performance.

    If you've not heard anything by Philip Sayce before then you could say there's some Gallagher, a bit of Vaughan and a lot of Hendrix in the way he plays, psychedelic rocker One Foot In The Grave and plenty of soul on Once, will tell you exactly what you need to know. Sayce even gives us his version of Hendrix's Spanish Castle Magic.

    A live trio with Sam Bolle (bass) and Bryan Head (drums) behind him, there's no frills here, as other blues rock players have moved into orchestras and brass, Sayce keeps it simple as just there musicians delivering raucous blues and roll.

    Soul and emotion coming in on the grooving Peace Machine which closes with a killer solos section shifting into as some bouncy country on Lady Love Divine and jamming with Morning Star where's there a little bit of Norwegian Wood in the solo section.

    Scorched Earth: Volume 2     is Philip Sayce setting the stage on fire, expertly mixed and mastered by Mark Rains and Brian Lucey for full sonic power, it's blues rock in the best place for it, on stage cranked out of the amps by a white hot band of veteran players. 8/10

    Scarab - Transmutation Of Fate (Brutal Records) [Mark Young]

    Anyone up for slice of Death Metal with an Egyptian twist? Of course you are!! Its another new band for me, one that suggests that there is a high level of Eastern promise heading my way. I’ve mentioned before that EP’s are a great way of providing a stepping on point to a new band, and its no exception here.

    Now, I suppose we need to address other exponents of Egyptian style/themed death metal (looking at you, Nile). I’m not sure if there is a real comparison to be made between them, other than they both play death metal and both focus on a specific area but there is room for both.

    In the case of Transmutation Of Fate, it plays out like a cinematic experience, the run times of each song whilst initially long don’t feel like it as they unspool. Yes, they each possess the core death metal ingredients – guttural vocals, blast beats, velocity of approach but there is a definite emphasis on making each song a living statement. My worry was that they would be a little cringe, but no, each is delivered from a place of authenticity, and steeped in atmosphere.

    From the opener Vow Of The Sphinx (Abo El-Houl) through to Monarch Of Violence (Oriasirius) the effect is the same; the melding of traditional instruments, the use of keys and that overall drive to make this a complete experience whilst not losing sight that this is heavy metal and needs to be exciting and as visceral as possible. It’s an expansive and some cases epic listen, but what Scarab do is make sure that the core requirements are observed. 

    All the atmosphere in the world is for naught unless there are whacking great riffs to back it up, and this is what they have. I’m assuming that having a specific focus won’t be for everyone, and that is one of the wondrous things about metal, we don’t all have to like the same things. I would say that you should give this a go, because at its heart is quality death metal. 8/10

    The Order - Empires (Massacre Records) [Matt Bladen]

    Empires goes from one extreme to another, and I say that as final song Bonehead's Back - Promises And Illusions is a dramatic funk metal rife that closes the record with all the sounds of Cherone and Bettencourt. There is a menagerie of styles here as Swiss band The Order show off the skills they have harnessed over a 20 year career.

    The Order have always had a political edge to them, this record for instance deal with political manipulation and the inevitable collapse of oppressive regimes. They kick off with thrash, getting the adrenaline pumping from the title track as they lean on heavy metal beginnings when things get more aggressive as they rage at the establishment though some modern sounding heavy rock.

    One of their killer weapons, are the vocals of Gianni Pontillo, he has gritty style with some massive choruses on Warriors, in the vein of Udo/Accept, the grooving The Last Call, then he has a sleazy snarl on Living For The Nightlife and melodic balladry on Wherever I Go, which is probably why he's recently become the vocalist of Nazareth, as he can carry off the gruff and bluesy delivery of Dan McCafferty, adding a his own European charm.

    I read that Gianni joining Nazareth will not be limiting The Order's recording and touring, which is a good thing as The Order are a great heavy rock band which can turn their hand to many things. 7/10


    A View From The Back Of The Room: Intrepid (Alice Doyle)

    Intrepid, Thel & Archemori, The Gryphon Bristol, 08.05.26



    On another one of my extemporaneous trips out of town I landed myself in Bristol, and upon my arrival heard of a group of bands performing at The Gryphon that evening. The bands in question were Archemori, THEL and Intrepid - all somewhat falling on the death metal spectrum, and sure to be a treat. No further convincing was necessary, and I was off to the Gryphon!

    The venue was quirky and separated into little segments, where the actual ‘stage’ was on the next level. A fairly small room, but compellingly good for acoustics and spacious enough to fit a reasonably large herd of headbangers in.

    Archemori (7) were doing their first ever opening set, and with a technical fusion of different extremes they established the mood. The vocalist, Heather, immediately displayed an incredible control over her growl and the crowd responded with nodding to the tune. She would take the time between tracks to engage with the audience and would acknowledge us even during songs, which always adds value to a performance in my opinion. As the set went on we would see Heather touch on some clean vocals, but although the transition was smooth the clean vocals were a little lacklustre. In general each of the members performed with confidence and in near perfect synchronicity, but particularly the drummer and guitarist seemed to harmonise extremely well.

    An excellent start to a night of live music!

    I quickly caught up with the cats & kittens of Archemori by the bar, and was pleasantly surprised by the amount of support they gave each other. Very friendly and down to earth bunch, whom then returned with me upstairs to witness the next band,

    THEL (8) are a Bristol based group here to debut their melodic death jams live for the first time. In the background played a kind of electronic synth tune, which stood out for me. I wrote “f*cking sick control” twice, and I think the singer’s vocal performance was absolutely stellar and his reverb was being much accommodated by the layout of the room. 

    We had the guitar solos, synth boogaloo and a drummer with eight arms and a cowbell - really what else do you need? As we reached the final song of their set (my personal favourite) the crowd had already established the world’s smallest pit in this narrow room, and everyone was thoroughly having a good time and I bought a t-shirt because yes.

    Next up were the headliners - Intrepid (8), whom hailed from the cool, calm and collected climates of Estonia. Regardless of their young age, they immediately took control of the stage with an intense and aggressive sound. The vocalist was impressive, driven and his growl went deep, but furthermore I took notice how the backup vocalist seamlessly blended in his own voice into support and add depth. 

    It was also the first of the three bands, where bassist was the first to catch my attention as I dissected the ensemble, showing strong skill whilst trying to pluck above the pitch of the drums - which I later found were affected by my positioning in the room. Though the lead had started with almost cocky confidence, towards the end he seemed to visibly relax and show some playfulness in his performance. These guys definitely deserve a bigger audience, but it shows welcome humility that they are willing to play to a smaller crowd despite playing to much bigger reception in the past.

    Definitely a worthwhile experience, extra points for potentially offending the singer with my joke about Finland vs Estonia, which was received with visible discomfort. (Will she ever learn?)

    Brilliant night with much talent and enthusiasm. Alice over and out out out!



    Reviews: Sense Of Fear, Clairvoyant, Crystal Winds, Hypostasis (Matt Bladen)

    Sense Of Fear - Infernal Decay (Sleaszy Rider Records)

    Classic heavy metal now from Sense Of Fear, active since 1998, Internal Decay is only their second full length, their first released in 2018.

    Despite their lack of releases, punctuated by a gap in their existence in the late 2000's, there's still decades of experience in this band which means that when they do deliver new songs you get a band who can sculpt heavy metal with the best of them.

    Inspired by the darker side of classic metal there's hallmarks from the 80's but also the American heavy/power scene that straddle thrash. Case in point, Cerberus reminds me of some early Iced Earth, leading into the full throttle thrash of Empathy Of Darkness.

    Here the guitars of Ioannis Kikis and Themis Iakovidis are distorted, the solo section introduced by great bass lead from Mike Mastrokoukos. There's an ominous atmosphere behind it driven by Markos Kikis' rampaging double kicks, this thrash toning continues for Conflict Of Interest.

    Taking Sense Of Fear down heavier routes, letting Ilias Kytidis display his entire vocals range from the snarling lows to the powerful highs he's joined on the creeping Labyrinth by the familiar snarl of Sakis Tolis. With some battle metal anthems sprinkled through the record, there a balance between the aggression and the melodic.

    Towards the end of the album Sense Of Fear put two monsters as Riddle Of Shadows and The Shallow Journey Of Your Soul, both have progressive metal grooves and cinematic storytelling as Sense Of Fear deliver a masterclass in heavy metal.

    These veterans of the game have given us yet another long wait for a follow up album, however it's worth it as there's no signs of decay, infernal or otherwise, in Sense Of Fear's heavy metal. 9/10

    Clairvoyant - Eternal Victory (Sleaszy Rider Records)

    Strap in folks because the first album in 11 years by yet another veteran heavy metal band from Greece.

    This time it's Clairvoyant who were formed all the way back in 1988, and now bring us their fourth album Eternal Victory a 62 (!) minute record that features 9 new songs, 2 bonus tracks and Motorhead cover, their first proper ballad Love Me Forever. 

    Clairvoyant have veteran experience behind them and it's all over the this fourth record, blending power and neo-classical metal, songs like Heroes Altar and Riddles are blistering power metal tracks, with a love of the epic and anthemic.

    The middle of the record features the excellent double of the The Quiet Dance Of Time intro and Time Marches On, one brilliant piece that really shows the fist in the air style of Clairvoyant as well as the quality of their new singer who debuts on this album.

    The band pull off a trick where they can make these songs sound simple, but there's a lot of substance there in the background as keys add classical influence against the chunky riffs and muscular rhythm section. Even on the ballads such as Dreams Of The Past, Barren Lands and that Motorhead cover there's dynamism.

    Personally I could have done with one or two fewer slow songs and more like Forsaken Sentinels or Eternal Empire (Alexander), but then I suppose the band want to show everything they've been working on in the 11 years between albums?

    Clairvoyant are veterans of the game and with their fourth album they can still deliver great heavy metal but there are too many ballads on this record which kills the excitement a little. Still when they're on the accelerator they're a great band for fans of neo-classical power metal. 7/10

    Crystal Winds - Long Live The King (Sleaszy Rider Records)

    Another set of Greek heavy metal veterans now who formed back in 1999 but got reactivated in 2013. Crystal Winds are also only on their second studio album, their debut Return To The Dark Age was released in 2021.

    Since then there's been a shift in their line up as this record features a different vocalist, however the music they perform hasn't shifted as Crystal Winds take from the epic heavy metal sound of where the 70's met the 80's in bands such as Manilla Road, Omen, Cirith Ungol and Greek/American legends Warlord.

    What that means if you didn't know is that most of these songs are instrumentally driven, hooked around the riffs, the guitars, bass and drums in an anthemic union, with the march of Battalion, the galloping title track or the folksy cinematics of Riders Of Rohan, because what is an epic metal album without a Tolkien inspired song?

    It's riffs galore here, the vocals telling these tales of battles and warriors in sonorous style, though it's the final track The Noble where they properly ascend to full epic status with a theatrical, elongated closer.

    Long Live The King keeps the beacons of lit, and Crystal Winds are ready to defend epic heavy metal with album two. 7/10

    Hypostasis - Birth Of A Mask (Self Released)

    A decade after their EP and subsequent hiatus, Athens prog metal band Hypostasis have delivered their debut full length.

    Birth Of A Mask is a concept album full of high concept lyrics and complex technical musicianship which draws inspiration from Pain Of Salvation and Nevermore, putting introspective melodies against the heavier and moodier side of progressive metal.

    The band called Birth Of A Mask a "deeply emotional journey of self-reflection and the long road to acceptance" these themes are told though the songs, it's the emotion of tracks such as Silver Stars and the heavy Afraid, where the passion in the voice of Romanos Alexander is at it's strongest, there's a host of backing vocalists adding flavour.

    He's also part of guitar duo along with Bill Apo as Konrad and Eridanus take bass and drums respectively, all the members of Hypostasis virtuosos on their own right as they move between gothic metal (Birth Of A Mask), doom metal (Mirror), symphonic metal (Visions) and death metal groove (Phoenix).

    Birth Of A Mask take a few listens as all good concepts should but it's a complicated, contemplative and most importantly heavy record from Hypostasis. 8/10

    Reviews: Haggard Cat, Karcius, Electric Sun Defence, Sins Of Shadows (Matt Bladen)

    Haggard Cat - The Pain That Orbits Life (Church Road Records)

    The duo of drummer/vocalist Tom Marsh and vocalist/guitarist Matt Reynolds, collectively known as Haggard Cat, are very well known on the British rock scene.

    They've played as part of bands before but in 2017 when Heck (FKA Baby Godzilla) disbanded the two of them dragged their feline bones in there studio and began to record with a much rawer, live as it can be approach of just guitar/effects/drums/vocals leading to their debut in 2018.

    It was all D.I.Y, bristling with intensity, no frills, loud and raucous rock n roll, with influences of post hardcore, noise, garage rock and more chucked together in their melting pot and played through speakers at their highest volume.

    Following the pandemic they took took to the stage as often as possible as this type of music is honed best when making a room of people deaf, it also gives a band a confidence to play with the recipe, many songs evolve on stage, things are added, taken away, jammed right there and then.

    This experimentation has been focussed into their third album; The Pain That Orbits Life, which still slaps you round the face with volume and veracity, but also brings in another side to this cat, a measured, progressive side where the song can be more elongated and the addition of synths can create a wider audio field than just guitar/drums.

    With Grammy winner Adrian Bushby behind the desk, Matt and Tom kick off this next chapter with the atmospheric oscillation of I Hate It Here, the synths giving way to the Haggard Cat groove of punchy riffs, stiff drumming and dual vocals shouts. The new with the old as familiarity is merged with modernity.

    The synths wind through back of nearly all the songs on The Pain That Orbits Life. They get back to the riffs weirdness again on Halcyon, as punk stomps through on Afterlove as they up the groove for the cascading rage of Apnoea, where Haggard Cat go Queens Of The Stone Age.

    We're only halfway through with this 7 minute number, 'Side B' of The Pain That Orbits Life explodes with more hardcore anger and angular riffs, the ferocity and volume increases for Suppressor as the synths and electronic textures return on Landscapes.

    Haggard Cats third album closes with Zion, their most epic cut yet, a 9 minute masterpiece that adds prog, doom and chest beating classic metal to their repertoire, changing shape in the middle as the atmosphere and psych doom crawls, Haggard Cat creating sounds much bigger than you'd expect a two piece to be able to.

    Let's not beat around the bush The Pain That Orbits Life is one fine feline, Haggard Cat prove third times the charm with this opus. 10/10

    Karcius - Black Soul Sickness (Self-Release)

    It's always a humbling experience when you realise you're an idiot. Black Soul Sickness is the third album in a trilogy by Montreal prog band Karcius and one listen to it's confirmed I'm and idiot for not having heard anything by them before, as they are right up my street.

    Influenced by Porcupine Tree, Pineapple Thief, Opeth and Big Wreck. Rest assured I will be going back to check out the first two parts of this story but for now I'll be focussing on Black Soul Sickness which is the latest chapter.

    The story of Karcius is the story of Simon L’Espérance, guitarist/producer/songwriter for the band, this is actually his seventh solo album under this name, twenty years of evolution coming from a project that was previously an instrumental crossover jazz band.

    Simon, joined by long time drummer Thomas Brodeur, entered a new heavier realms with the addition of Sylvain Auclair (vocals/bass) and Sébastien Cloutier (keys), from The Anchoret who joined for the first album in this trilogy.

    Now we love The Anchoret here and those brilliant vocals (similar to Tom S Englund) are a part of it so there's an elevated emotional content to these records, which continues on Black Soul Sickness, you can feel the introspection, the frustration and the strong emotional content throughout the record.

    With heavy groovers such as Out Of Nothing, perfectly showing off their balance of technical expertise and songwriting prowess. There's metallic volume, post-rock shimmers, acoustic moments, that infuse the opener Wallow, a track that has that call of classic prog where you pick out Floyd et all, these 'post' sounds continue on the the short but effective Slow Down Son.

    Darkest Heir meanwhile fuses Opeth with Evergrey for shifting time signatures, orchestrations and a huge chorus, Rise keeps the riffs heavy but the delivery dynamic and technical as Awakening The Spirit brings some massive Dream Theater sounds in the duelling guitar and keyboard riffs towards the climax.

    Black Soul Sickness closes the trilogy with the dramatic Dusting My Coat, it's short and effecting, like all good conclusions should be leaving just enough for you to want to delve back into this complex story again. Progressive, heavy, anthemic, epic, yeah I'm an idiot for not checking out Karcius before, you shouldn't be so go listen to it. 9/10

    Electric Sun Defence - Estuary (Road To Masochist)

    For fans of Mastodon and Baroness about sums up Electric Sun Defence. Born from the ashes of The Massacre Cave, multi-instrumentalist Joe Cormack and drummer Pete Colquhoun set about making a new band that is entrenched in prog and post metal, leaning on sludge/hardcore of Atlanta's favourite sons, while adding the palm muting and chunky technicality riffs of djent.

    Electric Sun Defence are a heavyweight band musically and lyrically but they deliver their heaviness without losing the ambience and atmosphere of prog/post metal bands such as The Ocean do. Mixed by Graeme Young (Dog Tired, DVNE) and mastered by Alan Douches (Baroness, Mastodon), it sound just how you want it too, thickness in the bottom end, a rawness in the riffs and atmospheric clarity at the top end.

    Multi-instrumentalist Joe Cormack claims that Estuary is a "metaphor for inevitability" and in that it's a perfect fit or Road To Masochist Records who champion bands with a experimental sound. The high level of technicality coming immediately on the title track where Morricone brass, shifts into dual harmony heaviness with clean/harsh vocals delivery.

    The theme of the water begins here with a torrent moving it's way to the end of the cycle, the rest of the songs all contributing in their own way to the lyrical themes, with proggy grooves, crushing heaviness and ambient textures on The Master's Garden and the trippy Spiderweb are countered by aggression of Phantom Limb Amputee.

    With the influence of Mastodon and Baroness is so strong on Estuary that you may think it's a lost album from one of them, but Electric Sun Defence do just enough to make it their own. 8/10

    Sins Of Shadows - The Last Frontier (Self-Release)

    Sins Of Shadows are French heavy metal band formed by guitarist Nicolas Jacon who writes all the music and lyrics, he's joined by bassist Sebastien Normand and drummer Rodolphe Plachesi.

    Over the course of their existence the trio have released two previous albums dividing their work between the early days of the British heavy metal scene and conceptual sound of American prog. They've also had a few vocalists cross their path over the years, adapting their sound each time, but you can do that when you do everything, such as the production etc in house.

    They now get ready to release their third full length album The Last Frontier which has Tasos Lazaris take the vocals so there's a a more pronounced Maiden vibe to the record given the Maiden related band's he's involved in. His Air Raid siren explodes on The Void which is a pacey gallop that showcases a more aggressive, focussed sound for this record.

    Sins Of Shadows are leaning on the heavier side with the American power sound of Iced Earth on The Last Frontier but then there's a shift as Walls Of Past, Tell Me Why and Rise Again recall Maiden in full 80's pomp as Laszaris unleashed over some gallops and harmony guitars.

    On their third record, Sins Of Shadows crank up the Irons and are all the better for it! 7/10
    A View From The Back Of The Room: Tygers Of Pan Tang (Debby Myatt & Tony Gaskin)

    Tygers Of Pan Tang, Demon and Voltstorm, The Asylum Birmingham, 29.04.26



    Heavy metal was was the order of the day at The Asylum in Brum as the iconic venue celebrated it’s 25th anniversary with a triple header of nostalgia and modern grit. Owners Roy and Jacqui are long time friends of the Tygers and were pleased to be able to get them to come and raise the roof.

    Openers were Voltstorm (8), a London based heavy metal band forged in 2019 by established singer John D. Prasec. They encapsulate the ethos of the NWOBHM with a modern grit and swagger. The songs are fast and high energy mostly taken from their 2024 album Breaking The Silence heavily influenced by the likes of Maiden and Priest. 

    They have a decent following in the crowd judging by the amount of singing along there was, the songs are typically anthemic and epic as you would expect from a classic heavy metal band with their European flair. I think they probably gained a few more fans as well tonight, good start to the evening.

    Hailing from the Potteries, Demon (9) are one of those bands that have a cult following. One of those bands that “should have been bigger” you might say. Fronted by the cheeky and indomitable Dave Hill (not Noddy’s mate) the band have existed for 45 years and today sees them in sprightly form. Their brand of heavy metal leans on their style of dark gothic story telling like Night Of The Demon but can get serious with soaring melodic tunes such as Hurricane. 

    It’s obvious that they’re having loads of fun but keep it technical with fast precision on The Unexpected Guest, but they get serious with Nowhere To Run a track that Hill tells us that was written many years ago about Middle Eastern conflicts and unfortunately still relevant today. A wonderfully nostalgic set though and a band we’d never expected to see in 2026!

    Closing the night, Tygers Of Pan Tang (10) proved that they can still roar with the best, their style is as sharp as their claws and they still have a bite to their heavy rock. Sorry, that’s all the puns out of the way! 

    Seriously though, guitarist Robb Weir can still shred with the best, and he is sharply turned out tonight with slick quiff and Hawaiian style shirt belying his 68 years and his interaction with singer Jack Meille is the cornerstone of the band and key to its longevity.

    Meille has been at the forefront of the Tygers during their latest incarnation and his style and flair fit perfectly with the bands melodic rock, and the being a Florentine, he’s spearheaded the renaissance of the band who are as busy as ever with the resurgence of classic rock thanks to all us Gen X folk who still love to rock out!

    Tonight they were on top form with classics like Slave To Freedom and Gangland whilst bringing us up to date with 2019’s White Lines. We even got a taster of the upcoming album Bloodlines with the first single that’s just dropped, “Electrifyed” proving that they can still bang out cracking tunes.

    They kept us waiting till the end though for the cheesy but great fun Love Potion No.9 and closing out with the fans favourite Hellbound the packed room loved it, and to be fair it wasn’t all Gen X in the room there were a lot of other generations represented, testament to the timeless attraction that this much loved British rock band has, and a fantastic way to celebrate the 25th birthday of a much loved venue and rehearsal rooms. 

    So a huge congratulations to Roy and Jacqui and a massive thank you to the Tygers for making a Gen X girl very happy!